Los Angeles is currently hosting an intriguing exhibition titled “Scientia Sexualis” at the Institute of Contemporary Art Los Angeles. This exhibition draws inspiration from Michel Foucault’s term for the 19th-century study of sexuality, highlighting the colonization and pathologizing of non-White and non-male bodies in this exploitative “science.” As part of the Getty Foundation’s initiative PST ART: Art & Science Collide, the exhibition features 27 artists exploring themes of bodily autonomy and lack thereof from various perspectives.
The artworks in the exhibition cover a wide range of subjects, from painted elegies for gay men lost to AIDS by Joey Terrill to drawings made of menstrual blood by Xandra Ibarra, and even a video offering comic relief by Nao Bustamante. These diverse works all share a common thread of addressing the marginalization faced by individuals within White patriarchal government-medical systems. The exhibition delves into Black, feminist, trans, and decolonial approaches to gender, sexuality, and representation in relation to the clinical gaze.
However, the sheer breadth and complexity of the themes explored in “Scientia Sexualis” can sometimes lead to a slightly dry and disjointed feel in the exhibition. Some artworks may not fully resonate within the large, open galleries of the ICA, making them feel isolated in the sparse layout. Additionally, the critical theory grounding much of the exhibition requires a level of explication that may be challenging for some viewers to fully grasp.
Among the standout works in the exhibition is Joseph Liatela’s “On Being an Idea (the right to live without permission),” which cleverly incorporates textbooks related to the DSM-IV-TR bound by shibari rope. Louise Bourgeois’ “Arch of Hysteria,” a bronze sculpture of a gender-neutral body hanging in a supine arc, also captivates with its enigmatic beauty and underlying message of abuse.
A recurring theme of body horror runs throughout the exhibition, often intersecting with ideas of womanhood and motherhood. While celebrating the unruly body is important, there is a risk of inadvertently reinforcing the sociopolitical abjection of the feminine body. Works like Candice Lin’s scent installation and ceramic sculpture “Night Moon” effectively unsettle viewers with their visceral yet disquieting presence.
One of the most powerful pieces in the exhibition, P. Staff’s 16mm film “Depollute,” offers a stark commentary on the violence inflicted on marginalized bodies by pseudoscientific studies. Through rapid-fire text montages and flickering light, the film explores the complex layers of self-abuse and societal hate experienced by individuals.
Overall, “Scientia Sexualis” at the ICA LA presents a thought-provoking and visually compelling exploration of gender, sexuality, and representation through the lens of marginalized identities. The exhibition runs until March 2 and was curated by Jennifer Doyle and Jeanne Vaccaro.
